Arguably one of the most beautiful microphones ever produced, the TELEFUNKEN ELA M 251E has been featured on countless hits and classic recordings over the decades. By virtue of its smooth, yet present and "open" sonic character, the ELA M 251E large diaphragm tube microphone is a true classic with very few rivals.

Today, prime examples of vintage ELA M 250 / 251 [both "E" and "non E"] microphones have become rare and highly sought after jewels, commanding tens of thousands of dollars on the vintage market. TELEFUNKEN Elektroakustik's historic recreations of the ELA M 251E exemplify the best qualities of the finest specimens of these legendary beasts, and while more expensive than most modern microphones, they are true to the heritage of their 50+ year old brethren.

The TELEFUNKEN ELA M 251E includes an edge terminated, dual backplate CK12 capsule capable of cardioid, omnidirectional and bidirectional polar patterns, a New Old Stock 6072a vacuum tube and a Haufe 14:1 ratio output transformer (the same found in the AKG Acoustics GmbH C12). Each reissue is 100% true in every detail to the original [the parts are interchangeable with the 50+ year old originals], and will deliver the same sonically opulent response that made the ELA M 251E one of the world's most sought after recording tools.

Arguably the most beautiful sounding microphone ever produced, the TELEFUNKEN ELA M 250 / 251 was originally sold in two variations: the "ELA M 250E / 251E" version utilized a 6072a tube, while the "ELA M 250 / 251" version contained a TELEFUNKEN AC701 tube. The "no-suffix" microphones were built to satisfy the standardized requirements of the German and Austrian national broadcast systems. While both versions of these microphones have achieved legendary stature in the modern recording industry, the road to achieving this legendary status was far from instantaneous.

In 1947 Neumann GmbH first built the U47 microphone. From 1947 to 1958 TELEFUNKEN GmbH used their established global distribution network for the products produced by Neumann GmbH, which were sold under the TELEFUNKEN name with a TELEFUNKEN logo badge.

In 1958 when Neumann GmbH notified TELEFUNKEN GmbH that they had decided to not renew their distribution contract, TELEFUNKEN reached out to AKG Acoustics about the possibility of AKG creating a "U47-like" model for TELEFUNKEN to plug into their global distribution network.

This U47-esque microphone was to be known as the ELA M 250. Like the U47 this new microphone featured the polar pattern selection (cardioid and omnidirectional) switch on the head of the microphone. Around 1958 Neumann GmbH also released their U48 microphone, which featured cardioid and bidirectional pattern selection. The TELEFUNKEN ELA M 251 was an amalgam of these two microphones as it was capable of switching between all three patterns (cardioid, omnidirectional, and bidirectional).

The switch housing at the base of the capsule assembly is where the similarity between the Neumann GmbH U47/48 and the ELA M 250 / 251 microphone series ends.

While the C12 accomplished pattern selection with an outboard switching device that was connected to the power supply, the ELA M 250 / 251 eliminated that addition to the system and minimized both the quantity of wires that had to run to the microphone as well as the expense of the external pattern selection box.

The design engineers at AKG Acoustics also came up with another very handy feature, which was the capability to minimize the time necessary to accomplish "field repairs" of the microphone. Both the C12 and U47/48 microphones require a fair bit of knowledge, a steady hand, as well as a couple of screwdrivers to get to the internal workings of the mic

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In order to perform a "field repair" of the ELA M 251E, one simply needed to unscrew the base ring from the bottom of the mic and the metal body tube would slide right off (no tools necessary!!). Once the body tube was removed either the capsule or the amplifier could be replaced in under a minute, saving precious time during an expensive broadcast or orchestral recording session.

The amplifier in the ELA M 250 / 251 series is housed in a molded plastic enclosure. The capsule and head grill assembly is held in place by two metal struts that run up the exterior of the amplifier housing. By implementing this system, either of these critical components could be replaced in seconds and the session could continue while the faulty system element could be sent to the technical shop for in-depth repair. This convenience was something the broadcasters of the time found to be a major plus as they had thousands of dollars of musicians sitting around for the live music broadcasts of the day. Any time saved cut down on the expense of the session, and added to the quality of the broadcast.

Unfortunately for TELEFUNKEN GmbH, these field replacement provisions also proved to be a sales impediment outside of the orchestral recording world as the plastic bits employed in these microphones added significant cost to the construction of the microphones.

The added cost made them markedly more expensive at the time than the Neumann GmbH and AKG Acoustics GmbH products, thus the non-government owned facilities of the time did not adopt these systems as readily as TELEFUNKEN GmbH would have liked. It is thought that fewer than 3700 total original ELA M systems were built from 1960 to 1965 when TELEFUNKEN GmbH discontinued sales of the microphone.

Today, prime examples of vintage ELA M 250 / 251 [both "E" and "non E"] microphones have become rare and highly sought after jewels, commanding tens of thousands of dollars on the vintage market. TELEFUNKEN Elektroakustik's historic recreations of the ELA M 251E exemplify the best qualities of the finest specimens of these legendary beasts, and while more expensive than most modern microphones, they are true to the heritage of their 50+ year old brethren.

Today TELEFUNKEN Elektroakustik has brought advancement to this classic system through the development of the CK-13™ capsule. While the CK-13 can be fit to any existing ELA M 250 /251 system it can also be found in the ELA M 251 T which is available through your favorite reseller via the "custom shop."

Upon first glance of the new U47 from TELEFUNKEN Elektroakustik, it's easy to see the "family resemblance." The large, chrome head grille houses a newly manufactured M7 capsule. Its matte nickel finished body houses a new BV8 output transformer and a newly developed VF14k vacuum tube; a "plug and play" replacement for the rare VF14M tubes found in the original.

(The power supply design based on 105v is the same as the original so VF14k and VF14M vacuum tubes are interchangeable should you find one)...

The classic "TELEFUNKEN" diamond logo proudly adorns the front of the body tube. All of these accoutrements show that this microphone means business.

Since its original development in 1946, the TELEFUNKEN U47 has been the microphone of choice for generations of recording professionals.

The first condenser microphone to offer selectable polar patterns (cardioid and omnidirectional), the original U47 also featured the famous M7 capsule which had been developed in 1928 by Georg Neumann. To this capsule was added an amplifier built from military surplus VF14 tubes (they had been used in field and aircraft radios), and BV8 output transformers. The combination of these components created a sonic quality that was absolutely unheard of in the English speaking world of the mid-1940s when darker sounding, less detailed ribbon microphones were the standard. The introduction of the U47 brought a new level of fidelity to the audio world, and is still considered to be one of the finest microphones ever produced.

Whether you're recording a symphony, a "crooner," or any facet of modern music, you'll find a great tool in the U47. Its authoritative mid-range and extended low-end response dance from your ears . . . much as a vintage wine dances from the palate.

Everything, from vocals to the loudest of guitar sounds, full on orchestral recording, beautiful backing vocal arrangements, or a chamber ensemble will benefit wildly from the rich and vibrant tone of this stunning microphone.

If there were ever a microphone that was the epitome of classic, hi-fidelity sound, it would be the C12. Its silky smooth top end provides plenty of air without sounding harsh or artificial. Its midrange speaks clearly and articulately, capturing the source with a natural presence. Its low end is tight and focused, perfectly balanced with the rest of the frequency range.

The large diaphragm vacuum tube-based C12 is a fantastic choice for all types of instruments, lending itself especially well to drum overheads, acoustic guitar, and vocals. Its silky smooth top end provides plenty of air without sounding harsh or artificial. Its midrange speaks clearly and articulately, capturing the source with a natural presence. Its low end is tight and focused, perfectly balanced with the rest of the frequency range.

If there were ever a microphone that was the epitome of classic, hi-fidelity sound, it would be the Austrian-designed C12. Original developed by AKG Acoustics in 1953, the C12 is revered for its smooth, airy frequency response. The design of the C12 was unique in its remote capsule polarizing technology. The ability to change the capsule's polar response variably between cardioid, omnidirectional and figure-8 (and six intermediate patterns between) from the power supply instead of with switches on board the microphone made the C12 the most versatile large diaphragm tube microphone of its time. Considered by many to be the finest sounding microphone ever produced, original C12 microphones are still in use in recording studios throughout the world.

TELEFUNKEN Elektroakustik is proud to manufacture the C12 once again. Each microphone features a newly manufactured CK12 capsule built from the original manufacturer's specifications. The amplifier circuit utilizes a European-made Haufe (manufacturer of the original) output transformer built to match the original, and a microphone grade NOS GE JAN 6072a vacuum tube. Every part of the C12 microphone has been reverse engineered and recreated exactly to the original to match not only its sonic integrity, but also to preserve the impressive point-to-point construction and aesthetic of the original. Coveted by an extensive list of professional recording engineers, the TELEFUNKEN Elektroakustik C12 historic reissue is an exceptional microphone that will be a treasured addition to your microphone collection for many decades to come.

According to the book Recording The Beatles, the U48 was one of George Martin's favorite microphones when actually 'recording The Beatles'. Utilizing the same M7 capsule, BV8 output transformer and VF14K vacuum tube as TELEFUNKEN's historic reissue of the U47, the U48 features cardioid and bidirectional capsule capabilities (instead of the cardioid and omnidirectional found in the U47). Its authoritative mid-range and extended low-end response have made the TELEFUNKEN U48 an excellent tool for recording vocals and acoustic instruments, both near and far.

Ten years after the development of the ubiquitous U47, the U48 was released with one variation to the U47; it had "bidirectional" (figure 8) capability. The bidirectional capability can be very useful in more "ambient" recording environments where the engineer recording the sound does not want to hear as much of the room ambience as might be recorded with an omnidirectional or cardioid pick-up pattern.

According to the book Recording The Beatles, the U48 was one of George Martin's favorite microphones when actually "recording The Beatles."

Utilizing the same M7 capsule, BV8 output transformer and VF14K vacuum tube as TELEFUNKEN's historic reissue of the U47, the U48s authoritative mid-range and extended low-end response make the microphone an excellent tool for recording vocals and acoustic instruments, both near and far.

A microphone's capsule is often made of two sides. The front diaphragm will produce a cardioid response, as will the rear. When the two diaphragms are polarized in the same polarity, an "omnidirectional" effect is achieved. When they are polarized in opposite polarity a bidirectional or figure 8 pattern is created. This is not an acoustic pattern creation; it is an electronic pattern creation.

All microphone capsules are omnidirectional in the low frequency regions of their response. As you climb the frequency spectrum the capsule will have a more directional response.

When you have two identical diaphragms with identical voltage to those diaphragms you will have a smooth "omnidirectional" response. When those voltages are reversed, an electronic cancellation of common information is achieved; the result is two "lobes," one on the front of the microphone and one on the rear of the microphone, with full frequency cancellation through the frequency range achieved through electronic cancellation. While the capsule head assembly from a U47 can be fitted to a U48 amplifier, the same does not work in reverse.

The small diaphragm ELA M 260 is arguably one of the industry's finest acoustic and classical recording tube microphones, offering plenty of tone with excellent detail and clarity.

Prior to 1959, TELEFUNKEN GmbH distributed Neumann GmbH microphones throughout the world. When Neumann GmbH decided to take their distribution direct, TELEFUNKEN GmbH commissioned Austrian company AKG Acoustics GmbH to produce a series of 5 microphones. This series of microphones was comprised of the famous ELA M 251, the ELA M 250, the stereo ELA M 270, and two small capsule microphones, the ELA M 260 and the ELA M 261.

TELEFUNKEN Elektroakustik is pleased to offer its first small diaphragm tube condenser, the ELA M 260. While not a historically accurate reproduction of the original ELA M 260 like the Diamond Series microphones, TELEFUNKEN Elektroakustik's version of the ELA M 260 is still built with the same attention to detail and level of quality that would be expected from a TELEFUNKEN Elektroakustik microphone.

One of the best recording tools for acoustic and classical music, the ELA M 260 system features a new circuit design based around a New Old Stock (NOS) EF-732 / 5840W vacuum tube and a custom output transformer that is wound to exacting specification in the United States. The combination of these features yields a small diaphragm microphone that is unique while also bearing the qualities of the vintage microphones that it was based upon.

In use, the ELA M 260 has plenty of tone with excellent detail and clarity. It captures sources with a natural presence, making it a fantastic tool for recording acoustic instruments of all types. Violin, cello, upright bass, drum overheads, percussion, woodwinds, saxophones, strings, and especially acoustic guitar all shine through the ELA M 260. Also, despite its size, it has also served well on vocal applications. Its unique tonal character is very well suited for a myriad of applications, both traditional and not.

All ELA M 260 system packages are supplied with a set of three interchangeable capsules: the TK60 cardioid, TK61 omni, and TK62 hyper-cardioid. With all three capsules the user can have the flexibility to record their source material in any way they wish. Each system also includes an M960 power supply, M801 25' dual-shielded TX-7 tube microphone cable, M761 elastic shock mount, wooden microphone box and a dedicated power supply.